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  CURRICULUM VITA
Current Positions and Teaching

Commissions
Papers, Lectures, and Presentations
Awards and Honors
Adjudication
Publications and Recordings
Residencies
Grants and Fellowships
Performance, Production and Technical
Concert Curation
Professional Associations
 

Doctor of Musical Arts, Composition (1997) 
The University of Texas at Austin 
Russell Pinkston and Dan Welcher, Co-Supervisors 

Master of Music, Composition (1992) 
The University of Colorado, Boulder 

Bachelor of Arts, Trumpet (1984)
Bethel College (N. Newton, KS)


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Current Positions and Teaching Experience 

Current
  • Cooridnator of Composition Studies, University of Missouri-Kansas City, Conservatory of Music
  • Associate Professor of Composition, University of Missouri-Kansas City, Conservatory of Music:  Graduate and Undergraduate Class and Private Composition;  Techniques of Electronic Music; Advanced Electronic Music Composition; Computer Programming for Musicians (MAX/MSP); and Aesthetics and Analysis of Electroacoustic Music; Instrumentation and Orchestration; directed studies and special topics for upper division and graduate students; supervising recitals,  thesis/dissertation directing and advising.
  • Director, Intermedia Music Production and Computer Technology Center (iMPACT), University of Missouri at Kansas City: responsibilities include curriculum development and teaching, managing funding, hardware/software purchasing, installation, and maintenance of three Macintosh based studios.

  •  
  • Board of Directors: NewEar Ensemble, Kansas City, Missouri (2000 to 2006)
1999-2005
  • Assistant Professor of Composition, University of Missouri-Kansas City, Conservatory of Music.
1995-2001
  • Faculty Composition Technologist, Aspen Music Festival and School: studio setup and maintenance; private and class electroacoustic music instruction; coordination and recording of student concerts and orchestral readings; and synthesizer programming for Aspen Music Festival Orchestras.
  • Founder and Director: AMPS (Amplified Music Performance Series): Aspen Music Festival.  Organizing and producing two concerts each summer of classic and contemporary electroacoustic works in a variety of genres, performed on a ten speaker diffusion system.
1998/9
  • Visiting Assistant Professor of Composition, University of Missouri-Kansas City, Conservatory of Music:  Class and Private Composition, sophomore through graduate level;   Techniques of Electronic Music I: and Advanced Electronic Music Composition; directed studies and special topics for upper division and graduate students; Orchestration; dissertation committee.
  • Tutor, New Zealand Young Composer's Workshop, Martinborough, New Zealand.
1995/96
  • Teaching Assistant and Assistant Instructor, The University of Texas at Austin 
  • Assistant Instructor:  Musicianship II (Freshman theory)
  • Teaching Assistant: Ear-training and Sight-Singing Lab (Freshman)
1989-93
  • Teaching Assistant, The University of Colorado, Boulder 
  • Twenty-first Century Music: upper division humanities course for non-majors focusing on contemporary music and speculation of future directions of music
  • Basic Music Theory (Rudiments):  prepared syllabus and course schedule as well as planned and taught all aspects of the course.
  • Theory and Ear-training Lab 2:  third semester aural skills for Sophomores focusing on chromatic harmony
  • Theory and Ear-training Lab 1:  first and second semester aural skills for Freshman
  • Basic Music Theory Aural Skill Lab:  Ear-training and Sight Singing for music majors in the Basic Music Theory Rudiments course
  • Electronic Music Laboratory:  Taught weekly orientation sessions for students not familiar with computer technology;  topics included sequencing, notation, and computer-assisted learning software (aural skills); and lab maintenance
1988/89
  • Lecturer, Bethel College, North Newton, KS 
  • Instructed jazz improvisation as sabbatical replacement;  directed the jazz ensemble, and pep band

  • Staff Instructor: Musical Offerings Music Studio, North Newton, KS: instructed elementary through high school trumpet and Trombone students



    Awards and Honors 

    Guggenheim Fellowship, April, 2008.

    Fulbright Fellowship to Victoria University, Wellington New Zealand (1997)

    Prize ex aequo, VII International Contemporary Music Contest "Città di Udine" Italy, July, 2008: In lake’ch

    Kaufmann Award for Artistic Excellence, UMKC Conservatory of Music and Dance May, 2008.

    Winner, Sounds Electric, 2007 Competition, EAR new music collective, Dublin, Ireland: November Sycamore Leaf

    EMS Prize, Stockholm, Sweden, November, 2002 for Thema: Omaggio
     
    Finalist 34th annual Bourges
    Electroacoustic Music Competition, Bourges, France for In lake’ch.

    American Composer’s Orchestra- Whitaker Reading Sessions, New York City: Symphonie Pastorale for large orchestra, April 5, 2003

    Mention, 32nd Bourges International Competition of Electroacoustic Music (June, 2005) for Love Song

    Mention, 27th Bourges International Competition of Electroacoustic Music (June, 2000) for Degrees of Separation "Grandchild of Tree"

    Honorable Mention, Church Keys for piano and tape: Shepherd Distinguished Composer Competition: Music Teachers National Association (April, 2000).

    Selected for the 1999 Sonic Circuits VII Festival, American Composers Forum

    Finalist in the 1999 Hultgren Solo Cello Works Biennial

    Composer of the Year,  Missouri Music Teachers Association, 1998

    ASCAP Special Award (1996 to present)

    1998/1999 MTNA/MMTA Composer of the Year

    University of Texas Continuing Fellowship (1996/97)

    Associate Artist, Atlantic Center for the Arts, Augusta Read Thomas master artist, New Smyrna Beach, Florida (1996)

    Nominated for ASCAP Commission (1995/96)

    Recipient of the Robert Jeffry Womack Endowed Presidential Scholarship, The University of Texas, Austin (1994)

    Dean Small Grant Award, University of Colorado for attendance at the Aspen Music Festival (1994)

    Lead Graduate Teacher in Music, University of Colorado, Boulder (1993)

    Board of Directors, Columbine Chamber Players, Boulder, Colorado (1991-94)

    NAJE Citation for Outstanding Musicianship in Arranging, Wichita Jazz Festival 21, Wichita, KS (1992)

    Cecil Effinger Graduate Fellowship in Composition, University of Colorado, Boulder (1991)

    Thresher Award in Music, for outstanding achievement, Bethel College, N. Newton, Ks (1984)

    NAJE Outstanding Musicianship Award for Trumpet Solo, Big Band competition, Wichita Jazz Festival 13, Wichita, KS (1983 and 1984)

    NAJE Outstanding Musicianship Awards for Trumpet Solo, Combo competition, Wichita Jazz Festival 12, Wichita, KS (1983)

     


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    Commissions
    Finally… for Jazz Alto and Wind Symphony (4’30”), 2009. Commissioned for Bobby Watson by Steve Davis and the UMKC Wind Symphony.

    Zuvuya (Mayan for “Circle of Life”), 60’ Electoacoustic symphony in 11 movements. Commissioned by Centro de Mexicana Musica y Arte Sonore, 2009.

    Kuxan suum (54' Electroacoustic work), IMEB BOURGES (France) Commission, June, 2008.

    Nelson-Atkins Museum of Art for the photographic exhibit Human/Nature: Recent European Landscape Photography, 2008: Verdun, Track 2 of Kuxan suum.

    Are your Ears Blind? Work for theater, Baltimore/Washington D.C., Monique Holt creator/director, 2008: 20 minutes of incidental music for video and dance.
Rock Hard (6' piano/percussion), Petrella Duo, Kansas City, April, 2008.

Larger than home, wind ensemble, Commissioned by Steven Davis and the UMKC Wind Symphony. Premier, Kansas City, February 8, 2007.

Madeleine Shapiro and newEar
:  Vastly Shrinking Space (cello and electroacoustic sounds). Premier, Kansas City, February 3, 2007.

8th Blackbird
for the 3rd Practice Festival: For whom... Premier, November, 2005, University of Richmond.

American Composer’s Forum
, Jerome Composer Commissioning Program: Circus, Entertainment in 9 movements for flute and piano (Elizabeth McNutt and Shannon Wettstein): September, 2003.  

UMKC Center for Creative Studies: Sublimated City, collaborative multi-media project, March-May, 2006.

Kemper Museum of Contemporary Art, Sonic Snapshots installation for Ping Pong Diplomacy: the art of  Stephen Hendee and Phoebe Washburn, March-May, 2006.

Nelson-Atkins Museum of Art, Fisherman’s Last Supper and Bach for Breakfast (text by Marsden Hartley), (7’) for soprano and piano.
    New York New Music and Dance Ensemble, Pods: premiered April 28, 2003. 

    A stop along the way… 30 minute movie with soundtrack commissioned for the Rocky Mountain Mennonite Camp 50th anniversary celebration, July 27, 2002.

    Scrum for vert mixed quartet for newEar ensemble, Mark Lowrey, President:  (organ, saxophone, bass clarinet, accordion).  Premier: Kansas City, Nov. 2002.

    Wood, Wind, Water, Earth for erhu, dizi, yangqin and virtual percussion, Meet the Composer Commissioning USA Program, premier performance: Music From China Premier Works XI, Merkin Hall, New York, November 17, 2001.

    Unnatural Selection for bass clarinet and computer, newEar ensemble, premier performance: Seeing Ear Concert, Kansas City, MO, November 2, 2001.

    "Fantasie" for erhu and recorded virtual ensembles: Music From China, Wang Guowei, erhu, Nov. 2000.

    "Out of crooked timber…" commissioned by Joan Sommers for the UMKC Conservatory of Music Accordion Orchestra, May, 2000.

    Church Keys for piano and tape Commissioned by the Missouri Music Teachers Association for the 1999 Composer of the Year competition

    Rhapsody for Two  Douglas Beilman and Joanna Hood commission for the 1999 New Zealand Festival of Chamber Music, Nelson, New Zealand.

    Portrait: North and South Maroon Northeast State University Wind Ensemble, Robert Carnochan conductor, Talequah Oklahoma.

    Silver Express Commissioned by Terry Sawchuk for solo trumpet and big band 


Guest Residencies

2009

Four week residency at Centro de Mexicana Musica y Arte Sonore in Morelia, Mexico: February 16-March 13, 2009.

Guest composer, Open Spaces Festival, Greely, Colorado (2 lectures, Pre-concert talk and half of a concert of my music), April 9/10, 2009.

Nine week residency at the Wurlitzer Foundation, Taos, New Mexico, April 21-June 30, 2009.

2008


Guest Composer, Towson University, Baltimore, MD, February 26-27, 2008.
  • Pre-concert lecture: “This is my mind...this is my mind on music.”
  • Solo Concert of 5 works
Orford Sound Creation Workshop, Guest Teacher, Montreal, Quebec, August 10-17, 2008.


2007


3 month residency for development leave at the Helene Wurlitzer Foundation in Taos, New Mexico, Jan-April, 2007.

Guest Composer, Cornell University and Ithaca College, Ithaca, New York, April 9-11
  • "Sound in Film, Implications for Composing:" composer's forum, Ithaca College
  • "Adventures in composing:" composition seminar, Cornell University
  • Choreographed performance of Degrees of Separation "Grandchild of Tree"
Guest Composer/Lecturer, DeMontfort University, Leicester England, April 23-28, 2007
    4 Lectures:
    •    Electroacoustics in Film Sound: Spectromorphology, lies  and videotape…”
    •    Sex, lies and audiotape: Noise, Dissonance and the Twentieth-Century Spiritual Crisis in Chion’s Requiem (co-author Sarah Jacobs)
    •    Smoke and Mirrors: Character and Plot through Sonification in Film
    •    Adventures in composing: Structure, Material and Unity in My Works
    Curated Concert: “Art and Life of Re[In]surrection” Works by Chion, Rudy, Burns, Broening and Leider

Guest Composer, Manchester University, England, May 20-21, 2007.
    •    Lecture: “Spirituality and Composing”
    •    4 private electroacoustic composition tutorials

Guest Composer, University of Aveiro, Portugal, May 24-29
    •    Concert: In lake’ch (complete)
    •    Guest lecture, “Hidden Messages in Film Sound: Source Lies and Videotape: Black Hawk Down case study”
    •    Composition masterclass

Guest Composer, MusicAcoustica, Central Conservatory of Music, Beijing, China, October 22-29, 2007
  • 2 Perfomances: Vastly Shrinking Space and Degrees of Separation
  • 3 Lectures:“Three Requiems and a Dream: The fourth dimension of sound in film," "Sonic Composition in Black Hawk Down," and “Cinematic Synchresis in Electroacoustic Music,” October 27, 2007

2006

Featured Guest Composer, Ball State University Festival 36: New Music 2006
  • Composers forum lecture “Follow your spleen dream!” 
  • Four works featured in concert: November Sycamore Leaf, Love Song, Church Keys, and Degrees of Separation

2004

Guest Composer, University of Colorado at Boulder, January 26-29, 2004:
  • Graduate Composition Seminar
  • Undergraduate Composition Seminar
  • Private Composition Lessons
2003

Guest Residency, Lewis University: "Composer Speaks Series", November 20-21, 2003

  •  "Theological Tonality in Church Keys" guest lecture
  • "Anthropological Impulses in the Creative Process or, Unscrambling Scrambled Eggs" guest lecture
  • Music Bytes Concert
  • Composition Masterclass
Composer in Residence, New York University New Music Ensemble, Esther Lamneck, Artistic Director: April 24-28, 2003

Mid-Kansas Composition Residency (Feb. 10-12, 2003)
  • Anthropological Impulses in the Creative Process: I’ll have my eggs unscrambled please! Convocation Address; Theological Tonality in Church Keys, Music Theory Lecture; Music as Multi-Media, Music History Class; Bethel College, N. Newton, Kansas, Feb. 10.
  • Presentation on my compositions, and composition masterclass, Bethel College, N. Newton, Kansas, Feb. 10.
  • Guest presentations for Music Theory Class and Wind and Symphonic Band Class at Newton High School, Newton, Kansas, Feb. 10.
  • Contrapuntal Currents in Contemporary Music: Abstractions of Sound and Image, Convocation Address, Emporia State University Dept. of Music, Feb. 11.
  • Composition Masterclass, Emporia State University, Feb. 11.
  • Guest speaker, Introduction to Composition, Wichita State University, Feb. 12.
  • Alternative Notation, Composition presentation and Masterclass, Bethel College, March 17, 2003.

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Concert Curation

Synthese 2007, 37th International Festival of Electroacoustic Music, Bourges, France, Music From SEAMUS, curated concert at  June 5, 2007. Works by Bolte, Furman, Kim, Volness, McGarity and Rudy.

Music From the Unites States, curated concert, teatr Weimar, Malmö, Sweden, May 16, 2007. Works  by Applebaum, Choy, Geers, Rudy, Volness and Wyatt.

Music From SEAMUS, Fylkingen, curated concert, Stockholm Sweden, May 11, 2007. Works by Burns, Cheng, Furman, Kim, Ariza, Pangilly, Rudy  and Volness.

“Ripples, templations and the wilderness of...” curated concert, University of Hull, Scarborough, England, May 7, 2007. Works by Applebaum, Lopez, McIntire, Wyatt, Rudy and MacKay.

“Over/Under” curated concert, Reid Concert Hall, Edinburgh, May 5, 2007. Works by: Rudy, Lopez, Volness, Choi, Minsburg, Kim, Schumacher and Bolte.

“Art and Life of Re[in]surrection,” Music Technology and Innovation Seminar Curated Concert, April 25, 2007. Works by Chion, Rudy, Leider, Burns and Broening.

SEAMUS concert at the International Computer Music Conference, November 9, 2006.

Swedish Electroacoustic Music Society (SEAM) Concert Series: Curated a concert of Electroacoustic Music from the United States, September 14, 2006.

Artsounds Concert: Baked!  Co-curated with Brett Reif (KCAI).  A one hour concert of sonic and visual art at Epperson Auditorium, Kansas City Art Institute, September 12, 2006.

SEAMUS/ICMC Collaborative Concert: curated a concert of SEAMUS Member works for the International Computer Music Conference, Tulane University, New Orleans, November, 2006.

Ai-maako, 50th Anniversary Celebration of the Chilean Electroacoustic Music Conference (CECh): Curated a concert of electroacoustic works by UMKC faculty and students, October, 20, 2006, Santiago, Chile.

Co-director and host of Electronic Music Midwest Festival, Kansas City, hosted at UMKC Conservatory, Oct. 30-Nov. 1, 2003, in partnership with Kansas City, Kansas, Community College and Lewis University (Joliet, IL).

Florida Electroacoustic Music Festival: Works from the MPACT Center, UMKC Conservatory of Music, April 7, 2000.

Digital Bugs: Concert of Student Works from the MPACT Center, UMKC Conservatory of Music, 1999 to present.

Amplified Music Performance Series: Electroacoustic Works at the Aspen Music Festival, 1995 to 2000 (6 concerts total).

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Papers, Guest Lectures, and Presentations

2009


Holistic Practice: healing mind, body and spirit in recent compositions and research,” University of Illinois, Champaign/Urbana Composer’s Forum, February 3, 2009.

Vastly Shrinking Space and My Musical Aesthetic, Mexican National University, Mexico City, February 27, 2009.

Sound Healing and My Music, guest lecture, Beginning Electroacoustic Music Composition Class, CMMAS, Morelia, Mexico, March 11, 2009.

University of Texas Electronic Music Studios Seminar guest lecture, “Your ears are lying: sound and image in theory and compositional practice” M and Second Semester Electronic Music Techniques Class, talk on my own music, March 25/26, 2009.


Roosevelt University, Chicago, Guest composer, February 5, 2009: Private lessons, guest lecture on my music.

Lewis University, Romeoville (Chicago), Guest Composer, February 6, 2009: Sophomore theory talk “Theological Tonality in Church Keys”; Music bytes Concerts (excerpts from Kuxan suum) and Composition class.

2008

Peabody Institute, Baltimore, MD, Guest Lecture on my music, Feb. 27, 2008.

Women in Music Class with Madeleine Shapiro, University of Utah, April 3, 2008.

Panel Member, Composer Performer Collaboration, Society of Electroacoustic Music in the US, National Conference, University of Utah, April 4, 2008.

“Who put the baby in Hip Hop...some thoughts on sonic culture in 2008” for the UMKC Honors program, April 17, 2008.

Guest artist presentation and student critique, Advanced Workshop, Kansas City Art Institute, April 21, 2008.

“Evolving Field Recording Aesthetics and Techniques in Electroacoustic Music, Pop Music, Soundscape, and Sound Art:” Panel Member, Bellingham Electroacoustic Arts Festival, April 26, 2008.


2007

Pre-concert talk, newEar ensemble, Unity Temple, Kansas City, Feb. 3, 2007.

Guest lecture, University of Colorado, Composition Seminar, February 14, 2007.

"Electroacoustics in Film: Sound in Image or Spectromorphology, Lies and Videotape." Paper presentation at the Society of Electroacoustic Music in the United States, Aimes, Iowa, March 8, 2007.

Ithaca College, Composition Seminar, “Cinematic Sound: implications for composition” guest lecture,  April 10, 2007.

Cornell University Composition Seminar, “Adventures in Composing” guest lecture, April 11, 2007.

University of Huddersfield, UK, invited lecture on my music, April 24, 2007.

Trinity College of Music, London,  England, invited lecture, “Sonic Composition in Black Hawk Down, and Sound’s Hidden Messages” (tied to visual implications in my recent music), May 1, 2007.

London College  of Music, Themes Valley University, invited lecture on "Electroacoustics in Film: Spectromorphology, lies  and videotape…,” May 2, 2007.

University of Aberdeen, Scotland, invited lecture on “Electroacoustics in Black Hawk Down: Sounds Hidden Messages,” May 4, 2007.

University of Hull at Scarborough, England, invited lecture on “Spectromorphology, lies  and videotape… Electroacoustics in Film with Implications for Composition, May 7, 2007."

City University, London, invited lecture on “Spectromorphology, Lies and Audiotape-Cinematic Sound with Implications for Composition,” May 10, 2007.

Royal Academy of Music, Århus, Denmark, "Inter-diegetic Sound in Film: Sound in Black Hawk Down and Compositional Implications,” Guest Lecture,  May 14, 2007.

Musikhögskolan, Mälmo, Sweden, guest lecture, “Electroacoustic Music  in the United States, May 15, 2007

University of Hertfordshire Mayfest, Hertordshire, England, guest lecture, “Communicating through sound: ears see and eyes hear,” May 18, 2007.


2006


The Power of Music: UMKC Innovation Lecture Series with Dr. Sheri  Robb, Kaufmann Center, February 21, 2006.

“Follow your spleen dream”, Ball State University Festival 36, composers forum lecture: New Music 2006.

 “What do Acousmatic Music, Stomp and Pink Floyd Have in Common?”  Guest Lecture, Louisiana State University, Center for Computation and Technology, Baton Rouge, LA, March 20, 2006.

2005

"Sound Shaping and Timbral Justification in the 'Moral Realist Combat Film' Black Hawk Down" with Phillipa Gates, presentation at the Conference on Interdisciplinary Musicology (CIM05) Montréal (Québec) Canada, 10-12/03/2005.

" Interpolating Electroacoustic Sounds in an Acoustic Context: Analyzing Timbre, Time and Pitch in Íris by João Pedro Oliveira" paper at the Society of Electroacoustic Music in the US, Muncie, Indiana, April 16, 2005.

“Spectromorphology Hits Hollywood: Morphology, Objectification and Moral Messages in the Sound Design of the Film Black Hawk Down” at Sonoimágenes 2005, Festival Internacional Acusmático y Multimedial, August 25, 2005, Buenos Aires, Argentina

“Analysis of Morphology in the Sound Design of the film “Black Hawk Down” guest lecture at Belgrano University, August 29, 2005, Buenos Aires, Argentina.

“Black Hawk Down: Total Sound-Morphology and Objectification in Film Composition” paper presentation at Visiones Sonores, International Festival of Music and New Technology. Centro Cultural Universitario, Mexico City, September 24, 2005.

“Timbral Common Parctice” paper presentation at Electronic Music Midwest, Kansas City, Kansas Community College, October 22, 2005.

Guest lecture on current electroacoustic music techniques: Kansas City Art Institute, 20th Century Music Class, IMPACT Center, October 31, 2005. 

2004

Spectromorphology Hits Hollywood: Sound Objectification in Black Hawk Down, paper presentation, International Computer Music Conference, Miami, FL. Nov. 5th, 2004.

"Morphological Imprints, Development, and Structure of a Helicopter Sound Object Theme in the Hollywood Film Black Hawk Down-Is there the beginnings of a timbral common practice?" 1 hour lecture/demonstration, International Computer Music Conference, Miami, Florida, Nov. 6, 2004.

also presented at Electronic Music Midwest, Lewis University, Sept. 18, 2004.

and Sonic Arts Conference, Leicester, England, June 14, 2004.

"Peace through balance: a musical metaphor of the human struggle between violent aggression and passionate humility." One hour lecture/demonstration at "Teaching Peace: Nonviolence and the Liberal Arts Curriculum" , Bluffton College Pathways to Mission and Vocation Program, May 28, 2004.

Intersections Between Sight and Sound: hearing the art of Denzel Hurley
(with Kristy Peterson), Kemper Museum of Contemporary Art, February 13, 2004 (lunch lecture).

2003

"Total Sound in Film: Black Hawk Down, a case study" 45 minute lecture/demonstration at the 2nd Annual Hawaii International Conference of Arts and Humanities, Honolulu, Hawaii, January 9, 2003.

newEar Ensemble Pre-concert talk with Ingrid Stölzel, Lawrence Art Center and St. Mary’s Episcopal Church, January 23 and 25, 2003.

"Creativity, from Inspiration to Sources in making a Work of Art, or: I just had a great idea! I wonder where that came from?"
Inaugural Lecture-UMKC Center for Creative Studies Lecture Series, Kansas City, Oct. 29, 2003, Linda Hall Library:


2002

Interactive Music and Technology Workshop with Trevor Wishart, Chalmers Technical University, Goteborg, Sweden, September 23/24: 2 intensive days of guest lectures, panel discussions, sound workshops and critiques.

"Spectro-morphological Diatonicism: Unlocking Style and Tonality in the Works of Denis Smalley Through Aural Analysis," One Hour Curated Presentation at the Society of Electroacoustic Music in the US (SEAMUS), University of Iowa, April 6, 2002.

Thema: Omaggio presentation, City University Post-Graduate Electroacoustic Music Seminar, London, England: May 17, 2002.

State of the Art Technology guest lecture for Music Theory Four, William Jewel College, Phil Posey, Instructor, April 15, 2002. 

"The Language of Electroacoustic Music: Current Approaches to Analysis and Composition," panel member Russell Pinkston, chair.  Society of Electroacoustic Music in the United States (SEAMUS) National Conference, University of Iowa, April 4, 2002.

Masterclass, Electronic Music II, University of Iowa, Experimental Music Studios, April 3, 2002.

"Composition-Practical and Impractical Approaches" with James Mobberley: In-service-Shawnee Mission School District, Shawnee Mission, Kansas, March 25, 2002.
 

2001

Electroacoustic Works guest lecture/demonstration, New York University New Music and Dance Ensemble, Esther Lamneck, dir. Nov. 15, 2001.

Seeing Ear, pre-concert talk, newEar Ensemble, St. Mary’s Episcopal Church,  Kansas City, MO, November 2, 2001.

Separation Anxiety: Why Pluck a Cactus in Public?  Lecture/demo at the Also Sprach DJ Zarathustra Festival hosted by the Northwest Electroacoustic Music Organization, October 6, 2001, Portland Oregon.

Separation Anxiety, Metaphoric Transmutations from a Paradoxical Biological Instrument or: What is a cactus doing in our concert hall?  Aspen Composers Conference, Aspen Institute, Aspen, Colorado, August 13, 2001: 

"Vision, Blurred Vision" paper presented at Music Without Walls, Music Without Instruments Conference, De Montfort University, Leicester, England, June 21, 2001.

Harnessing Nato Interpreting Physical Gesture in Real-Time for the Control of Sound, Paul Rudy and Timothy Place authors: paper presented at the Society of Electroacoustic Music in the United States National Conference, Baton Rouge,LA, March 3, 2001.

Sacred Space,  Paul Rudy, Mark Applebaum, and Ingrid Stolzel, pre-concert talk, newEar Ensemble, Concert, St. Mary’s Episcopal Church, Kansas City, January 27, 2001.
 

2000

Diverse Musical Approaches: Homage to the Past While Looking to the Future. Guest Lecture to Composition Seminar at Hanyang University School of Music, Seoul, South Korea: November 8, 2000.

Out of the Lattice and Into the Continuum: Current Electroacoustic Music Trends in the United States.  Guest Lecture to Electronic Music Class, Yeonsei University, Seoul, South Korea: November 8, 2000.

Interactive Electroacoustic Works from the MPACT Center at the University of Missouri, Kansas City.  Guest Lecture, Kimpo College, Department of Music, Kimpo, South Korea, November 6, 2000.

Thinking Outside Traditional Pitch/Rhythm Structures: Developing Timbre, Frequency, and Time On a Continuum. Guest Lecture, Ewha Women’s University, Composition Seminar, Seoul, South Korea: November 2, 2000.

Informal Discussion of Electroacoustic Works, and Building a Career as a Young Composer:  Susan and Ford Schuman Center for Compositions Studies, Aspen Music School, August 17, 2000.

What a Composer Thinks: an Informal Discussion of the Psychology Behind Church Keys, for Piano and Tape.  Guest speaker at the UMKC Conservatory of Music Trustees Meeting, May 10, 2000.

Composition masterclass panel member:  Imagine 2000, University of Memphis, Feb. 26, 2000.

Composition and Technology Panelist: UMKC Conservatory Careers Night, Jan. 24th, 2000.

Expanding Sound Worlds: Psychology and Metaphors in Degrees of Separation "Grandchild of Tree." Guest Lecture Theory II, UMKC Conservatory, February 28, March 1, and 3.

Key-related Motive Structures in Church Keys for Piano and Tape.  Guest Lecture Theory II, UMKC Conservatory, February 14,16, and 18.
 

1999

Guest presenter, 20th Century Music at Aspen, Aspen Music School, August 7, 1999.

Cross Cultural Pollination in Contemporary New Zealand Music: Compositional Approaches from the Nuclear Free Zone.  Paper read at the Rocky Mountain Chapter of the College Music Society Conference '99: Boulder, CO, March 19, 1999.

Multi-Cultural Influences in Contemporary Music Composition, Panel Member, Society of Composers, Inc. Region VII Conference, Honolulu, Hawaii, March 13, 1999. 

Compositional Instincts from Nature: Alternatives to the Traditional Phallus in Musical Structure,  guest lecture for "Women in Music Class," University of Utah, March 25, 1999.

Paul Rudy in discussion of his works, Aspen Music School 20th Century Music at Aspen, August 7, 1999.

Theater for the Ear, guest lecture, Baptist Bible College, September 21, 1999.

Careers in Composition,  guest lecture for Career Class, Oberlin College Conservatory, October 11, 1999.

Junior Senior Electronic Composition Seminar presentation, TIMARA, Oberlin College Conservatory, October 12, 1999.
 

1998

State of the Art Technology and Artistic Expression: guest lecture, Introduction to Music Technology, Bethel College, October 29, 1998.

From ABC to Do-Re-Mi, co-host, Conservatory Kids Club, University of Missouri, Kansas City, Conservatory of Music, October 17, 1998.

Compositional Trends Postmodern Vegetable Soup: guest lecture, Composition 3, Department of Music, Waikato University, Hamilton, New Zealand, May 28, 1998.

Compositional Processes, an illustration: guest lecture, Composition 1, Department of Music, Waikato University, Hamilton, New Zealand, May 28, 1998.

Personal Challenges in Composing for Tape and Tape and Instruments: guest lecture, Composers' Workshop, Canterbury School of Music, Christchurch, New Zealand, May 25, 1998.

My Compositional Journey: Guest Lecture, Composers' Workshop, School of Music, Victoria University, Wellington, New Zealand, April 30, 1998.

Composing for Instruments and Tape: Guest Lecture, First Year Electronic Music Course, School of Music, Victoria University, Wellington, New Zealand, April 27, 1998.

Parallax 2 and String Quartet No. 1/III, tutor presentation, New Zealand Young Composer's Workshop, Martinborough, New Zealand, April 11, 1998.
 

1997

Electroacoustic Aesthetic Directions in the United States guest lecture, Canterbury School of Music, Christ church, New Zealand, October 17, 1997.

 Aspects of My Electroacoustic Music guest lecture for Graduate Electronic Music Seminar, School of Music, Victoria University, Wellington, New Zealand, September 28, 1997.

Electroacoustic Music from the University of Texas, Electronic Music Seminar, School of Music, Victoria University, Wellington, New Zealand, September 25, 1997.

Polyglot and Postmodern Synthesis: Composers' Workshop, University of Hawaii, Honolulu, September 9, 1997.

Band in a Box: Interactive Computer Music for Children Musical Discoveries Outreach at the Aspen Music Festival. Aspen Youth Center, August 6, 1997.

Techniques of Contemporary Electroacoustic Sound Diffusion Aspen Music Festival Seminar, Paepke Auditorium, August 4, 1997.

Aspects of Music Technology Lecture demonstration with Michael Czajkowski for 20th Century Music at Aspen, Aspen Music School, August 2, 1997.
 

1996

Citlaltepetl and Trio for Three Associate Artist presentation: Atlantic Center for the Arts, New Smyrna Beach, Florida

Buchla and the Beast: from electronique to the new musique concrete. Lecture presented with Michael Czajkowski for 20th Century Music at Aspen, Aspen Music School
 

1992

music, images, still and moving..... A multimedia presentation including "Colorado, A Hiker's Perspective" in collaboration with John Drumheller, Robert Schaller, and Gregory T.S. Walker at the Sibel Wolle Arts Center, University of Colorado, Boulder.

Recordings and Publications

Recordings:

Thema: Omaggio: SEAMUS Vol. 14, Spring, 2005.

Thema Omaggio: "Winner Takes All" Stockholm Electronic Arts Award and emsPrize Winners 1995-2004, Caprice Records, Stockholm Sweden, 2005.

Thema: Omaggio: ICMC Proceedings, Miami, Florida, Sept. 2004.

Fantasie: International Computer Music Conference CD release, Singapore, October, 2003.

Degrees of Separation "Grandchild of Tree"
: Orgainized Sound, vol. 6 no. 3, December, 2002.

Degrees of Separation "Grandchild of Tree": CDCM Series on Centaur records, expected release Spring, 2002.

"…and every island and mountain were moved from their place…": SCI recordings (Capstone Records), expected release December, 2000.

Parallax 2: Apparitions: Living Music Records, Vol. VI: Electroacoustic Cello Book, Craig Hultgren, Cello.
 

Publications

Books Chapters

Rudy, Paul, “Timbre, Time and Pitch Strategies in Íris by João Pedro Oliveira” chapter in Contemporary Portuguese Composers, Edicões Atelier de Composição, ISBN 972-98846-1-7, December, 2003, pp. 65-84.

Rudy, Paul and Phillipa Gates, “Spectrmoprhology Hits Hollywood: Morpholgy, Objectification and Moral Messages in the Sound Design of Black Hawk Down” chapter in Audio Vision (Lectures from Sonoimagenes, 2005), LANUS University, Buenos Aires, Argentina, 2009.

Professional Journals

Rudy, Paul, "Hardwired for Sound" in The Living Music Foundation Newsletter. Fall, 1999.

Rudy, Paul, "Music and Computers: the End of the Beginning," in Sound Ideas, March/April, 1999, Christchurch, New Zealand

Rudy, Paul,  “Separation Anxiety, Metaphoric Transmutations from a Paradoxical Biological Instrument or: What is a cactus doing in our concert hall?” in Organized Sound, Vol. 6, No. 2 (Cambridge University Press: August, 2001).

Rudy,Paul, “Spectro-morphological Diatonicism: Unlocking Style and Tonality in the Works of Denis Smalley Through Aural Analysis”, Journal SEAMUS, Vol. XVI, No. 2, Fall/Winter, 2001, pp. 18-27.

Rudy, Paul, “Interpolating Electroacoustic Sounds in an Acoustic Context: Analyzing Timbre, Time and Pitch in Íris by João Pedro Oliveira” in Journal SEAMUS, Vol. 18 No. 2, January, 2006.

Rudy, Paul “Timbral Praxis: When a tree falls in the forest is it music?” in Organized Sound 12(1): 5-13. Cambridge: Cambridge University Press, 2007.


Proceedings

Rudy, Paul and Mary Pat Henry, “Expanding Dance Performance Paradigms Through Dynamic Sound Environments: Composer/Choreographer Challenges in Creating New Interactive Works,” in feedback: perception and interaction in electronic arts, proceedings from the 8th Biennial Symposium on Arts and Technology: New London, CT, March 1, 2001, pp. 112-119.

Rudy, Paul,  “Separation Anxiety, Metaphoric Transmutations from a Paradoxical Biological Instrument or: What is a cactus doing in our concert hall?” in Conference Proceedings for the Aspen Composer’s Conference, Aspen, CO, August 11, 2001.

Rudy, Paul,  “Separation Anxiety, Metaphoric Transmutations from a Paradoxical Biological Instrument or: What is a cactus doing in our concert hall?” in Conference Proceedings : Music Without Walls, Music Without Instruments Conference, De Montfort University, Leicester, England, June 21, 2001.

Rudy, Paul, Total Sound in Film: Black Hawk Down, A Case Study, conference proceedings CD-ROM, 2nd Hawaii International Conference on Arts and Humanities, Honolulu, Jan. 8-11, 2004 .

Rudy, Paul, Spectromorphology Hits Hollywood: Sound Objectification in Black Hawk Down, conference proceedings, International Computer Music Conference, Miami, FL. Nov. 1-6, 2004, 658-63.

Gates, Philippa and Paul Rudy, "Sound Shaping and Timbral Justification in the 'Moral Realist Combat Film' Black Hawk Down" in Proceedings of the Conference on Interdisciplinary Musicology (CIM05) Montréal (Québec) Canada, 10-3/11/2005.

Jacobs, Sarah and Paul Rudy, “Noise, Dissonance and the Twentieth-Century Spiritual Crisis: Synchresis in Chion’s Requiem,” conference proceedings, International Computer Music Conference, New Orleans, LA Nov. 6-11, 2006.


Internet Publications and Interviews

“An interview with Paul Rudy”, in Classical KC, August 25, 2003: www.classicalkc.com

Rudy,Paul, “Spectro-morphological Diatonicism: Unlocking Style and Tonality in the Works of Denis Smalley Through Aural Analysis”, eContact!, “Analyse Électroacoustique (Analyses of Electroacoustics)” in Vol. 6.4: http://cec.concordia.ca/econtact/Analyses/index.html

Rudy, Paul and Phillipa Gates, “Sound Shaping and Timbral Justification in the “Moral Realist Combat Film” Black Hawk Down”, eContact!, Harvest Moon and Other Festivals, Conferences, Vol. 8.3.
http://cec.concordia.ca/econtact/8_3/gates_rudy.html

CD and Concert Reviews:

ICMC 2002 Final Concert for ICMA Array published online at: http://www.computermusic.org/array.php?artid=95

"Scenes/Sources" Denis Smalley CD review for Sonic Arts Network SAN Diffusion, August, 2001, UK.

Bill Alves The Terrain of Possibilities and David Rosenboom Invisible Gold in Array, Journal of the International Computer Music Association: http://www.computermusic.org/array.
 


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Performance, Production and Technical

"The Virtual Concert Hall" writing, hosting, and producing a one hour radio program of international electroacoustic music. 

Broadcast on Resonance FM 104.4 (and web-cast at www.resonanceFM.com), London, England produced in partnership with the Sonic Arts Network www.sonicartsnetwork.org, Broadcast Dates (46 programs: June, 2002 to April, 2003):

  • Passage: Old and New/Mixed and Matched: April 26, 2003
  • Mechanics, Strategy and Automata: April 19, 2003
  • Night/Supernatural: April 12, 2003
  • Surfaces: Glass/Water: April 5, 2003
  • Spiritual Overtones: March 29, 2003
  • The Nature of Sound: March 22, 2003
  • Special Live broadcast from SEAMUS 2003  6:30-8:30 PM Evelyn Smith Music Theatre, Arizona State University (March 15, 2003)
  • Quotations and Re-composition: March 8, 2003
  • Electric Orchestra: March 1, 2003
  • Light and Color: February 22, 2003
  • Live!: February 15, 2003
  • Just good music!: February 8, 2003
  • Historically Sound: February 1, 2003
  • Dhoormages: January 25, 2003
  • Doors: January 18, 2003
  • Exploding Pianos: January 11, 2003
  • Loose Electric Canons in F: January 4, 2003
  • Ensembles: December 28, 2002
  • Digital Bugs: December 21, 2002
  • The Beat of a Different Drummer: December 14, 2002
  • Hyper-Instruments: December 7, 2002
  • Music Boxes: November 30, 2002
  • Explosion/Implosion: November 23, 2002
  • Rock, Roll and Rhythm: November 16, 2002
  • Jazz and Blues: November 9, 2002
  • Requiem MASSes: November 2, 2002
  • Electric String Quartet: October 26, 2002
  • Disembodied Voices: October 19, 2002
  • Flute Extensions: October 12, 2002
  • Virtual Ensembles: October 5, 2002
  • Night Music: September 28, 2002
  • Rhythmic Explorations: September 21
  • Electroacoustic Stories: September 14, 2002
  • Swing Machine: September 7, 2002
  • Percussive Vibrations: August 31, 2002
  • Stellar Points and Dreamy Webs: August 24, 2002
  • Hyper Piano: August 18, 2002
  • Folk Instrument Extensions: August 10, 2002
  • Contraptions, Gadgets, Mousetraps and Paper: August 3, 2002
  • Sounds of the Natural World: July 27, 2002
  • Classical Music Sources: July 20, 2002
  • Pendulums and Pinballs: July 13, 2002
  • Electroacoustic Music Retrospective: July 6, 2002
  • Theater for the Ear: June 29, 2002
  • Atmospheres:  June 22, 2002
  • Thrummed Strings: June 15, 2002

"The Virtual Concert Hall" Broadcast on KAJX (August 1999 to March, 2001), Roaring Fork Public Radio, Aspen, Colorado, Broadcast Dates (37 programs, 47 total broadcasts):

  • The Virtual Concert Hall Introduction: August 9, 1999.
  • Guitar Extensions: August 23, 1999.
  • Piano Extensions: September 6, 1999.
  • Sounds from the Natural World: September 20, 1999.
  • Chamber Music Extensions: October 4, 1999.
  • Contraptions, Gadgets/Mousetraps, and Paper: October 18, 1999.
  • Extended Sounds: November 8, 1999.
  • Rhythmic Explorations: November 22, 1999.
  • Vocal Extensions: December 6, 1999; January 20, 2001.
  • Woodwind Extensions: December 20, 1999; March 10, 2001.
  • Folk Music Extensions: January 3, 2000; March 17, 2001.
  • Meditative Works: January 17, 2000; March 31, 2001.
  • Women Electroacoustic Composers: January 31, 2000; April 7, 2001.
  • Other Sound Worlds: February 14, 2000.
  • Brass Extensions: February 28, 2000.
  • Piano Extensions II: March 13, 2000.
  • Theater for the Ear: March 27, 2000.
  • Spacious Works: April 4, 2000.
  • Automata: April 24, 2000.
  • In the Garden at Night, May 8, 2000; February 24, 2001.
  • Splitting Atoms May 22, 2000; January 6, 2001.
  • Flute Extensions June 5, 2000; January 27, 2001.
  • Virtual Ensembles June 17, 2000; March 3, 2001.
  • Stretched Strings! July 1, 2000; February 10, 2001.
  • Mostly Slow Music, July 15, 2000.
  • Dancing to the Beat of a Different Drummer, September 9, 2000.
  • Electroacoustic Music Retrospective, September 23, 2000.
  • Other Terrains, October 7, 2000.
  • Electroacoustic Stories, October 21, 2000.
  • More Folk Extensions, November 4, 2000.
  • Vocal Extensions II, November 18, 2000.
  • Micro to Mega, December 2, 2000.
  • Comic Relief, December 16, 2000.
  • Vitruvian Drones, December 30, 2000.
  • Wet, January 13, 2001.
  • Sea of Reeds and Breath, February 3, 2001.
  • Real Time Sculpted Sound, February 17, 2001.

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  Other Technical...
2002/3

Co-director and host of Electronic Music Midwest Festival, Kansas City, hosted at UMKC Conservatory, Oct. 30-Nov. 1, 2003, in partnership with Kansas City, Kansas, Community College and Lewis University (Joliet, IL).
Technical Producer, Electronica Concert, newEar Ensemble, Kansas City, MO, November 7, 2003.
Producer, Seeing Ear Concert, newEar Ensemble, November 2, 2001.
Imagination Stations for Sound: Nelson-Atkins Museum of Art, Kansas City. Two day installation followed by a concert of interactive, audience participatory music using sound installation systems programmed by Paul Rudy and Timothy Place; August 25-27, 2000.

2002 to 2003: Producer, Writer, and Host of The Virtual Concert Hall, a weekly radio program for Resonance FM, London, England; 104.4 FM (52 one hour programs of International Electroacoustic Music in partnership with the Sonic Arts Network).

2001

1999 to 2001: Producer, Writer, and Host of The Virtual Concert Hall, a weekly radio program for KAJX, Roaring Fork Public Radio, Aspen, Colorado; 91.5 FM (37 one hour programs of International Electroacoustic Music).

Producer: Seeing Ear: concert of electroacoustic works for newEar Ensemble, Kansas City, MO, November 2, 2001.

Performer: Degrees of Separation, Also Sprach DJ  Zarathustra Electroacoustic Music Festival, Portland Oregon, October, 2001.

Performer: Degrees of Separation and Boys in the Attic at the Lemon Tree Café, Aberdeen, Scotland, June 26, 2001.  Also performed sound diffusion of works by four other composers on 15 channel audio system.

Performer: Degrees of Separation, at Music Without Wall? Music Without Instruments? Conference, Leicester, England, June 21, 2001.

Vocal Performer, James Mobberley, Vox Inhumana, Real-Time Concert, newEar Ensemble: St. Mary’s Episcopal Church, Kansas City, MO, March 8, 2001.

Computer programming and performance for Chris Brown "Waves" (for Shakuhachi and Live Electronics) newEar Ensemble Real Time Concert, St. Mary’s Episcopal Church, March 7, 2001.

8th Biennial Symposium of Arts and Technology, Connecticut College: rehearsal coaching and sound diffusion, World Premier, João Pedro Oliveira "In Tempora," March 1, 2001.

Web development and implementation: Inter-media Music Production and Computer Technology Center, UMKC Conservatory of Music, Homepage and seven peripheral pages showcasing activities and personnel at the iMPact Center- http://www.umkc.edu/mpact
 

2000

Performer for Kromozone, "The Nature of Contingency": Seoul International Festival of Computer Music, November 5, 2000.
Producer and sound engineer for collaborative Amplified Music Performance Series/Percussion recital: Aspen Music Festival, July 31st, 2000.
Recording Engineer: Masterclass orchestral reading, Aspen Music School, July 13, 2000.
Performer: Spring in Havana 2000 International Electroacoustic Music Festival.  Chinese Food II for chopsticks and computer  by Timothy Place.

1999

Audio Engineer for ACE Choice:  "Music for Acoustic and Amplified Ensembles," Aspen, Co.
Producer: Digital Bugs, Electroacoustic Sound Diffusion Concert.  UMKC, Conservatory of Music: Works from the MPACT Center and Beyond.
Florida Electroacoustic Music Festival, Gainesville, Fl.: Sound diffusion for Remnants
 

1998

International Computer Music Conference, Ann Arbor Michigan:  sound diffusion performances of John Young "Virtual" and Paul Rudy Parallax 1 "Violin"
Aspen Contemporary Ensemble, Aspen Music Festival: sound reinforcement for George Crumb, Vox Balanae
Aspen Festival Orchestra: synthesizer programming for John Adams Nixon in China and Violin Concerto
Aspen Contemporary Ensemble: Sound reinforcement for Mario Davidovsky, Synchornism No. 6 for Piano and Tape
Wellington Fringe Festival, Wellington, New Zealand: Francis Dhomont, Lettre de Sarajevo and Paul Rudy, "...and every island and mountain were moved from their place..."
 

1997


ACE Choice Concert,
Aspen Music Festival, audio technician and diffusion: Rob Smith, Essential Torque; John Cage, Child of Tree
EARS, University of Texas, B. Iden Payne Theater: Polyglot
Florida Electroacoustic Music Festival, Gainesville, FL, 18700
 

1995/6

Amplified Music Performance Series, Aspen Music Festival: two concerts each summer, Aspen, CO
 
 

1995-6

INsideOUT, Atlantic Center for the Arts: Paul Rudy, Under Construction, sound diffusion and audio engineer
AMPS (Amplified Music Performance Series inaugural concert) at the Aspen Music Festival: Mark Wingate, Ode to the South Facing Form; Denis Smalley, Wind Chimes; Jonty Harrison, Unsound Objects, Miguel Ruiz, Selves; Claudius Cazan, first Aspen
Society of Electroacoustic Music in the United States, National Conference, Birmingham Alabama: Paul Rudy, Geographic Bells
EARS, University of Texas School of Music: Trio for Three; Karl Korte, Homage-Bud Powell; Paul Rudy; Three Pieces from Water into Light
Lobby Concerts, Electronic Music Studios, The University of Texas, Austin: Todd Machover, Flora


Adjudication
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MusicAcoustica Composition Contest, Central Conservatory of Music, Beijing, Oct. 24, 2007.
Sinquefield Composition Contest, University of Missouri, School of Music, Oct., 2007.
Bands Across Kansas City Competition. Online judging of ca. 50 bands Sept. 22-24, 2007 and judging panel for the final playoffs, November 20, 2007.
Electronic Music Midwest, Adjudication for November Festival at Lewis University, July 9, 2007.
Art Critique of Student Sound Installation Project, Kansas City Art Institute, December 11, 2006.
Bands Across Kansas City Competition, Sponsored by Time/Warner  Cable KC on Demand and The Kansas City Star Preview. Preliminary judging in September (online) with final  contest judging at the Uptown Theater, November 25, 2006.
Canadian Electroacoustic Music Conference (CEC) Jeux de temps-Time Play competition judge, May 29-31, 2006.
Talent Scholarships, Community Music and Dance Academy, April 30, 2006.
Judge, Visual and Performing Arts, UMKC SEARCH Symposium, April 14, 2006.
UMKC School of Architecture: "Bach in a Box" project reviewer and critique of students projects, October 17, 2003, and Freshman "Client" project: initial mock consultation and follow-up project critique.
Louisa Stude Sarofim Composition Contest, University of Houston, School of Music, Feb. 2003.
SEAMUS 2003 Adjudication Panel member : music for tape alone category
Electronic Music Midwest Annual Festival (Jan. and Sept. 2002)  
SEAMUS 2001 National Conference Web Audio Clip Selection Committee
Guest Reviewer, UMKC Architecture Department, Sophomore Design Project 2 "Bach in a Box", October 12, 2001.
Adjudicator: Missouri Music Teachers Student Composition Contest, October 1999, 2000, 2001.
SEAMUS 2001 National Conference Web Audio Clip Selection Committee, October, 2000.
Adjudicator: Missouri Music Teachers Composer of the Year Award, 1999, 2000.
Adjudication for the Henry and Parker Pelzer Prize in Composition, University of Iowa, May, 2000.
Selection Jury Member: 1st Annual Kansas City Festival of Electroacoustic Music.  Feb. 12, 2000.
Adjudicator: Midwestern Section of the Music Teachers National Association Student Composition Contest, 1999.
Selection Jury: Australasian Computer Music Conference, Wellington, New Zealand, July, 1999.
 


Grants and Fellowships

UMKC Faculty Research Grant
, April, 2002-May, 2003, $6,000.
University of Missouri Research Board Grant, April, 2002-May 2003, $11,800.
International Visual and Performing Arts Center (UMKC)  Arts Innovation Board Grant for the Virtual Concert Hall in London, May, 2002-May, 2003: $1,000.
International Visual and Performing Arts Center (UMKC) "Mini Residency Grant" for Bass Clarinetist Harry Sparnaay Residency, April 8-10: $1,000.
Meet the Composer Grant for John Young Composer Residency, $750, April, 2000.
Meet the Composer Grant, Music From China, travel stipend for premier performance of Fantasie (erhu and tape), Merkin Hall, Nov. 11, 2000 ($200).
UMKC Faculty Research Grant.  "Developing Software to Compose for Dancers and Live Musicians with Computer Interactivity": June 1, 2000 to June 1, 2001 ($6,000).
Meet the Composer Grant for Tom Lopez, artist-in-residence: 1st annual Kansas City Festival of Electroacoustic Music: April 27-29, 2000 ($625 matching grant).
UMKC Office of Research Assistance Travel Grant for attending the VII biennial "Spring in Havana" International Electroacoustic Music Festival: February 2000 ($700). 
Co-author, Computer Use Fees Special Projects Grant the Music Production and Computer Technology Center, UMKC Conservatory of Music, Spring, 1999 ($98,763).
Fulbright Fellowship to Victoria University, Wellington New Zealand, 1997-98 ($18,000 NZ).
University of Texas Continuing Fellowship, 1996-7 ($11,500)
Recipient, Dean Small Grant Award, University of Colorado, 1994 ($750)



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Professional Associations

American Composer's Forum (ACF)
Music Associates of Aspen (MAA), Corporate Member
American Society of Composers Authors and Publishers (ASCAP)
International Computer Music Association (ICMA)
Society of Electroacoustic Music in the United States (SEAMUS)
Electronic Music Foundation (EMF) Charter Subscription Member
Texas Computer Music Network (TCMN)
Living Music Foundation
Society of Composers, Inc. (SCI)
Sonic Arts Network (SAN)

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created by Paul Rudy, May 1998